Conventionally, motion picture production includes recording live-action footage and preparation of the footage for distribution. In contrast, conventional computer animation includes complex modeling of physical representations of objects/characters to be recorded, computer-interpretation of those models, and frame-by-frame rendering of movements of those models to mimic live-action recording of conventional movies. Thereafter, background features are added and post-processing may occur to render sharp detail.
To achieve 3D animation tasks are inherently more complex and there is a need in the art to provide methods and systems for 3D animation that reduce the complexity of animation while also increasing final quality.
One aspect of 3D animation relates to surface distortions and volume loss due to linear interpolation between character shape changes, e.g., facial expressions. The problems arise during 3D animation when modeling transitions are attempted in 3D space while attempting to remain faithful to an original character's style and design. This can be particularly challenging when the characters undergo extreme transitions, for example with regards to the Peanuts characters, with the tiny, pinched mouths, ear to ear smiles, exaggerated screams and expressions that are stretched to great extremes, all in an attempt to preserve the clean profiles and smooth shadings of their round heads.
Common 3D animation methods include traditional blend shape methods. One useful source on blend shape methods may be found at http://www.creativeblog.com/maya/how-animate-character-blend-shapes-10134835, the entirety of which is incorporated herein by reference. The article describes such methodology in the context of a common software suite by the name of Maya, which methodology is a type of deformer tool therein. As is stated by that article, “Blend shapes create the illusion that one shape changes into another in a natural-looking way. You might use one, for example, to animate a character's mouth moving from a neutral shape into a smile. This works by using a duplicated version of the object, which is then manually adjusted to another shape. You can then use blend shapes to blend or morph between these, and it creates the illusion of an object changing its form.”
However, such traditional methods cause surface distortions and volume loss due to linear interpolation during transitions (e.g., between expressions). What are needed in the art are new systems and methods that preserve and control (e.g., head) shapes while allowing (e.g., facial) features to slide freely around those curved volumes.